This paper is based on the relationship between traditional colour mixing (as used by British artists interested in 'colour field' painting during the 60s and 70s) and digital colour. Research questions asked how colour rendition in inkjet technologies might be improved for the artist who wishes to use technologies beyond photographic reproduction. Drawing on access to the Tate Print collection, Parraman's work investigates how screenprinted colourants and surface tactile qualities can be used as a model for inkjet technologies. Through ongoing consultancy with Hewlett Packard and Tate Gallery, London the research investigates a new approach to colour mixing and printing, and was further supported by an AHRC grant (BSG ANS190 APN19134, 1 September 2004 � 30 August 2005) Screen printed colour as a theoretical model for the development of inkjet technology. Parraman's work in this area of colour has resulted in invitations to work at Hewlett Packard Laboratories, San Diego, USA, with a view to collaborating towards new methods for inkjet printing for artists. The Centre has been a beta test site for Hewlett Packard for 3 years, with HP providing £85,000 funding towards 2 research fellows to work at the Centre.
Amongst the research papers that have originated from this programme of work is: 'The Scientific Artist?' the development of the art and science of colour mixing for artists from the 18th to the 21st Century', Impact Conference, Berlin/Poznan, September 2005.
'Experiments in the Hybridisation of Screenprint and Inkjet' given at IRIS, The Essence and Senses of Colour conference, 9-10 November 2005. http://www.ensaia.inplnancy.fr/iris/pdf/C_Parraman.pdf#search=%22carinna%20parraman%22
Parraman was an invited speaker and presented a paper 'How might Inkjet be developed?' at the Gjøvik Color Imaging Symposium, Norway, June 14-15 2007.